As artists, they were self-taught and created a cosmos of images that still captivates us today with its sensual immediacy and has made a lasting mark in art history on the work of non-academically trained artists: Henri Rousseau (1844-1910), Camille Bombois (1883-1970), Andre Bauchant (1873-1958), Louis Vivin (1861-1939) and Seraphine Louis (1864-1942). They are counted among the so-called circle of the "painters of the sacred heart"; their scenarios, often borrowed from nature, especially flowers and fruits, but also people in parks and landscapes, indicate a closeness to nature, a sensitive approach to the things of the immediate environment, with which they apparently sought to escape the coldness of uprising modernism. These French pioneers of authentic art were discovered by the German art historian Wilhelm Uhde (1874-1947), who organized their first joint exhibition in Paris in 1928.

Jack Whitten's alluring and inventive paintings are part of the collections of some of the world's most prominent museums and galleries-but this profoundly inventive artist worked primarily under the radar for most of his life. This book, conceived with Whitten's collaboration shortly before his death in 2018, brings his work into focus, highlighting in particular the themes of history, politics, and music. As a young man in Alabama, Whitten was angered by the racism he experienced. When he moved to New York City, he was inspired by the Abstract Expressionists dominating the art scene there. This book examines Whitten's influences and alliances-including his relationship to his mentors Norman Lewis and Willem de Kooning-to trace how the artist never stopped experimenting and innovating. His riotously colorful oils gave way to massive acrylic "Slab" paintings. These were followed by kaleidoscopic mosaic paintings that capture and redirect light; the "Black Monoliths" series, memorializing Whitten's personal heroes; and his later works, which embrace technology and the digital age.

What could the primarily Western collection of the Nationalgalerie look like today if a global understanding of art had informed its development? Looking at artworks from non-European centres of Modernism and their activities, untold stories and overlooked connections are picked up and developed. The Nationalgalerie Berlin subjects its collection to a critical revision, focusing on those areas of the collection which are not central to a Western understanding of art. Starting points include Heinrich Vogeler's turn to the Soviet Union, the Dadaist Tomoyoshi Murayama's sojourn in 1920s Berlin, and Joseph Beuys' collaborations with Nicolas Garcia Uriburu. The result is a narrative of art from 1900 to the present which, from a global perspective, selectively takes up and explores historical, international, and transregional connections between artists and cultural contexts.

The paintings of Katharina Grosse can appear anywhere. Her large-scale works are multi-dimensional pictorial worlds in which walls, ceilings, objects, and even entire buildings and landscapes, are coated with splendid color. For the exhibition It Wasn't Us, the artist has transformed the Historic Hall of Hamburger Bahnhof - Museum fur Gegenwart - Berlin, as well as the outdoor space behind the building, into an expansive painting which radically destabilizes the existing order of the museum architecture. The painting's support consists of the floor of the hall and a group of polystyrene forms designed specifically for the exhibition, which Grosse transposed into their final size in several working stages and through incremental changes of scale. The painting stretches beyond the building's confines and into public space, onto the vast grounds behind the museum, and across the facade of the Rieckhallen. It Wasn't Us does not connect interior and exterior, museum and environment, or culture and nature. Rather, it renegotiates our viewing habits and our forms of thought and perception. Katharina Grosse (*1961, Freiburg im Breisgau), one of the most profiled female painters on the international contemporary art scene, studied at the Kunstakademie Munster, as well as at the Dusseldorf Academy, where she was also a professor from 2010 to 2018. Her works have been seen in renowned museums, including the Museum of Fine Arts in Boston (2019), the National Gallery in Prague (2018), the chi K11 art museum in Shanghai (2018), and MoMA PS1 in New York (2016), and at several biennials and triennials, including Aarhus (2017), Venice (2015), and Curitiba (2013). EXHIBITION: Hamburger Bahnhof -Museum fur Gegenwart - Berlin, June 14, 2020-January 01, 2021